Born and raised on her family’s 7-acre ranch in Auburn, African-American sculptor Marita Dingus has been exhibiting her artwork locally and internationally for over 30 years.  Working almost exclusively with found objects of every possible variety, Dingus’ work is a commentary on the slave trade, recycling, and the politics of poverty.  Her signature African-inflected figures of all sizes have become a familiar sight in the region, having been shown at galleries, museums, and in outdoor installations.  We’ll talk to her about her long career, how it’s been impacted by the current rise in interest in the work of BIPOC artists in general, and where she plans to go from here.

 

In recognition of the national examination of systemic racism and injustices, Gage Academy of Art is committed to continued analysis and expansion of our own institutional practices.

Land Acknowledgment: Gage Academy of Art would like to acknowledge that we stand on the traditional ancestral lands of the Coast Salish peoples—specifically the Duwamish People, past and present—and honor, with gratitude, the land itself, the Duwamish Tribe, and their ancient heritage. Without them, we would not have access to this gathering, dialogue and learning space. We ask that we take this opportunity to thank the original caretakers of this land, who are still here.

Non-Discrimination Policy: Gage Academy of Art does not discriminate on the basis of race, color, nationality, gender identity, sexual orientation, ability, age, religion, or ethnic origin in administration of its educational and admission policies, scholarships, and any school administered programs

Gage Academy of Art is committed to social justice in a diverse democracy

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Born and raised on her family’s 7-acre ranch in Auburn, African-American sculptor Marita Dingus has been exhibiting her artwork locally and internationally for over 30 years.  Working almost exclusively with found objects of every possible variety, Dingus’ work is a commentary on the slave trade, recycling, and the politics of poverty.  Her signature African-inflected figures of all sizes have become a familiar sight in the region, having been shown at galleries, museums, and in outdoor installations.  We’ll talk to her about her long career, how it’s been impacted by the current rise in interest in the work of BIPOC artists in general, and where she plans to go from here.

 

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